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21 Genius Hozier Lyrics That Will Actually Give You Goosebumps

About two months ago, after a five-year hiatus, Andrew Hozier-Byrne released a well-awaited EP, Nina Cried Power, and today marks the release of a new single 'Movement.'

Since the release of 'Take Me to Church,' I have been a huge fan of the amazing Irish musician. Hozier's music is incredibly thought-out and simultaneously soothes the soul and awakens the kindred, lost wandering part of you.

SEE MORE: 11 Song Lyrics With A Deeper Meaning

Here's a compilation of some of my favorite lyrics up-to-date from both his old album, Hozier, as well as the EP, Nina Cried Power.

Be warned: I got goosebumps while re-listening to all these brilliant creations. And if you haven't, check out 'Movement' that was released earlier today.

1. "The only heaven I'll be sent to is when I'm alone with you."

Take Me To Church, Hozier.

2. "Would things be easier if there was a right way? Honey, there is no right way."

Someone New, Hozier.

3. "No better version I could pretend to be tonight."

Jackie and Wilson, Hozier.

4. Babe, there's something so lonesome about you, something so wholesome about you."

From Eden, Hozier

5. "And I couldn't whisper when you needed it shouted."

Shrike, Hozier.

6. "All you have is your fire and the place you need to reach. Don't ever tame your demons, but always keep 'em on a leash."

Arsonist's Lullabye, From Eden EP.

7. "It's not the waking, it's the rising."

Nina Cried Power, Nina Cried Power.

8. "I will not as you where you came from, I will not ask you,  neither should you."

Like Real People Do, Hozier.

9. "Babe, there's something so tragic about you, something so magic about you; don't you agree?"

From Eden, Hozier.

10. "We'll lay here for years or for hours, your hand in my hand, so still and discreet."

In A Week, Hozier.

11. "Her eyes and words are so icy, oh,  but she burns like rum on fire."

Cherry Wine, Hozier.

12. "I've no language left to say it, all I do is crave to her."

Foreigner's God, Hozier.

13. "Honey, you're familiar like my mirror years ago."

From Eden, Hozier.

14. "'Cause there's no better love that's laid beside me. There's no better love that justifies me, there's no better."

Better Love, Hozier.

15. Give your heart and soul to charity 'cause the rest of you, the best of you, honey, belongs to me."

NFWMB, Nina Cried Power.

16. "'Cause with my mid-youth crisis all said and done, I need to be youthfully felt, 'cause God I never felt young."

Jackie and Wilson, Hozier.

17. "You and I nursing on a poison that never stung, our teeth and lungs are lined with the scum of it."

Sedated, Hozier.

18. "There's an art to life's distractions; to somehow escape the burn weight. The art of scraping through."

Someone New, Hozier.

19. "I turned and ran to save a life I didn't have."

In the Woods Somewhere, Hozier.

20. "My lover's got humor, she's the giggle at a funeral. Knows everybody's disapproval, I should've worshipped her sooner."

Take Me to Church, Hozier.

21. "We tried the world, good God, it wasn't for us."

Jackie and Wilson, Hozier.

I hope some, if not most, of these lyrics blew your mind. If they did, definitely follow along with his musical journey.

Sours: https://www.theodysseyonline.com/hozier-lyrics

shreya 🕊☁️💌 — i think we can all agree that hozier's handwriting

i think we can all agree that hozier’s handwriting

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#hozier#aesthetic#dark academia#dark acadamia aesthetic#forestcore#forest#cottagecore#light academia#art#okay but#fuck i'm lonely#pain.#wasteland baby#hozier x reader#dark academia poetry

More you might like

dark academia classic reads:

  • the secret history - donna tartt
  • the stranger - albert camus
  • the picture of dorian gray - oscar wilde
  • the great gatsby - scott fitzgerald
  • sappho’s poetry
  • anything by plato
  • hamlet - shakespeare
  • frankenstein - mary shelley
  • dracula - bram stoker
  • the illiad - homer
  • song of achilles - madeline miller
  • dead poets society - nancy kleinbaum
  • the strange case of dr. jekyll and mr. hyde - robert louis stevenson
  • maurice - e.m. forster
  • murder on the orient express - agatha christie
  • in cold blood - truman capote
  • the last man - mary shelley
  • sense and sensibility - jane austen

feel free to add recommendations if you wish!

fuck academic professionalism. use emojis in papers. kiss in libraries. use 'yall' in formal emails. the world is ending & i refuse to leave it being 𝒃𝒐𝒓𝒊𝒏𝒈

If you feel like you’ve seen this alread, that’s normal. This list of recommendation has been previously posted on my first account @praestantias which has been deleted for some reasons. So here I am, reposting it. 

Hating how elitist and eurocentric the dark academia community became, I would truly appreciate that you leave some recommendation of book written by people of color, for I noticed that I am guilty of the eurocentric part, but I am really want to educate myself and read more non-white books. 

Thank you for your suggestions!

I used to be so involved in dark academia and I miss it!

If you’re a dark academia blog, please reblog so I can follow you!

Dark Academia: Personal

  • Scribbling notes in a small journal with black ink
  • A cup of tea on your desk, near a pile of books, drenched in the reddish gold light of the sunrise
  • Staying up all night, black coffee and a candle burning keeping your company
  • Going to bed after sunrise and waking up in the afternoon becoming your routine
  • Being alone in the library with a storm raging outside
  • Walking home with a bunch of freshly purchased books in your hands
  • Spending the day in classes and the library
  • Spending the day in bed, reading
  • Mozart.
  • Waking up early to cloudy skies
  • The books you keep piled up near your bed becoming your cat's favourite nap spot

How to appear pretentious/mysterious

  • Refer to everyone by their last name.
  • Always over dress (Keep your clothes clean and well kept) 
  • Don’t revel information about yourself. Keep your answers vague and short. Direct the conversation back to them.
  • Sarcasm
  • Show off your knowledge. Don’t dumb yourself down. Quote Oscar Wilde, Shakespeare or make references to classics whenever you feel like it.
  • Latin phrases (Inspired by Francais)
  • Keep up proper etiquette. And be formal in traditionally informal situations
  • Hold your head high, carry yourself with confidence. 
  • Seal all your letters with your signature wax seal.
  • Don’t expose your true thoughts and feelings to new people. Force them to look for the way the tips of your mouth curve upwards in a sly smile. Or the way your eyes ignite with silent passion.
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i hope you’re as smitten with the moon as i am. the silence and serenity and wild mystery it demonstrates all at once. we don’t always have to talk or explain or do to be radiant. there is power in the subtleties.

-Victoria Erickson

Religious leaders preach fear and guilt rather than love, which should, in theory, be the most important thing in the world, and their congregations swell.

Paulo Coelho (The Winner Stands Alone)

See this in the appShow more

Sours: https://darklingfeelings.tumblr.com/post/641443778446688256/i-think-we-can-all-agree-that-hoziers-handwriting
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Wasteland, Baby!

2019 studio album by Hozier

Wasteland, Baby! is the second studio album by Irish musician Hozier, released on 1 March 2019 by Rubyworks Records.[1] It is Hozier's first album since 2014.[2] The album includes the songs "Nina Cried Power" and "Shrike" from the 2018 EP Nina Cried Power, as well as the single "Movement".[1] It was promoted by a North American tour beginning in March 2019, and a European tour in late summer to fall 2019.[3]Wasteland, Baby! debuted atop the Irish Albums Chart and the Billboard 200, and has since been certified gold in the US.[4]

Background and writing[edit]

After touring his debut album, Hozier took a one-year hiatus from his work, moving back to Ireland to "reconnect".[5] He stated that he became a "news junkie" and wrote much of the album's material "trying to reconcile" his own "concerns and anxieties" regarding humanity when Doomsday Clock moved two seconds to midnight in 2018.[6][7] The themes encompass apocalyptic imagery in "cultural" and "moral wastelands" within a backdrop of personal connection and intimacy;[8] influenced by the seeking of "hope" and "warmth" amidst major global events such as climate change, the European migrant crisis, the rise of neo-nationalism and Brexit.[9][10] Such doubling concepts are expanded on in tracks like "Shrike", "Be", "No Plan" and "Wasteland, Baby!".[10][7]

Of course, despair and fatigue, they absolutely creep in, and they certainly did at many points. A lot of people, certainly like a lot of Irish people … have a very, very close, healthy relationship with despair, which is not always a bad thing; you know what I mean?...I think there’s wonderful things to explore in that...we’re living in very interesting times, and in many ways, unprecedented times. I’ve always held that there’s always that holding onto a sort of optimism [...] finding some silver lining, something to hang onto, and something that provides you with some amount of hope and gives you some sense of faith in people and faith in the kindness that people are capable of...That’s what a lot of the songs on the record were trying to reach for.

— Hozier on the intertwining themes of Wasteland, Baby!, RIFF[10]

The album's lyrical and musical conception was influenced by featuring artist Mavis Staples as well as the literature of T.S Eliot, W. B. Yeats and Seamus Heaney.[10] Stylistically, Hozier aimed for "music that hit a little bit harder, that leaned into rhythm a little bit more" than his debut record.[7] He first came up with the ideas for "Movement" and "Nina Cried Power" on the piano, and states that he had a "bad habit" of "trying to write six, seven, eight songs at once" while writing the record.[5] Hozier has stated that he was "reluctant" to draw inspiration from tour life, with the months he spent at home in the Irish countryside "living a normal life enabled [him] to absorb things".[5] Hozier spent the last 18 months prior to Wasteland, Baby!'s release working on the album.[11] The exclamation mark in the title of the album is “quite important,”, and signifies “ the wry smile” in his lyricism, blending "experiences of devastation and joy".[8]

Music and lyrics[edit]

Wasteland, Baby! is just under an hour long, containing fourteen tracks in total.[12] The record features a guest appearances from blues singer and civil rights activist Mavis Staples on "Nina Cried Power" and instrumentalist Booker T. Jones on "Be" and "Sunlight".[13] The tracks were written entirely by Hozier with the exception of "As It Was", which was co-written with Alex Ryan.[14] The album was produced by Hozier, Markus Dravs, Rob Kirwan, and Ariel Rechtshaid.[15]Wasteland, Baby! is a soul[16] R&B[16] and folk-influenced record.[16] The album features gospel choral backing,[17] pulpit-rattling percussion[17] gentle vocals,[18] and varied instrumentation[18] with bluesy organs and guitar[17] containing a mix of pop-culture references[19] and personal sentiment.[19] The album also returns to Biblical and naturalistic imagery, invoking romantic symbolism.[20][21]

Songs[edit]

"Nina Cried Power"

The lead single of Wasteland, Baby!, "Nina Cried Power" is a soul-inspired track with gospel chorals featuring Mavis Staples in paying tribute to the artist-activists that inspire Hozier's music, including the titular Nina Simone.


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"Nina Cried Power" opens the album with a bluesy,[18] soulful[16] gospel-like[19] track with a strong drumbeat,[19] soothing guitar[19] and powerful vocals by Mavis Staples,[19] a tribute to the civil rights movement[19] which references artist-activists Nina Simone, Billie Holiday and Woody Guthrie, among others.[19] "Almost (Sweet Music)" is a catchy[19] clap-along[15] folk song[22] with honey-rich vocal theatrics[19] name-checking Chet Baker and Duke Ellington with playful lyrics[19] providing a glimpse into his "personal journey" between albums.[19] "Movement" is a gospel-pop[15] slow build[23] stomp-clap[23] twinkle-keyed[24] R&B ballad[24] that compares the summons of love to an awe-inspiring dance.[19] "No Plan" is a jazzy[15] sultry[18] bass-heavy[15] song with heavy guitar[23] and a seductive beat[18] that addresses the state and fate of universe with harsh lyricism, inspired by astrophysicist Katie Mack.[25][23] "Nobody" is a lightly-rolling[26] pop-soul[26] track celebrating a pervasive, imperfect, and incomparable romance.[15] "To Noise Making (Sing)" is a joyous[15] song with a gospel choir[23] dreamy, echoing vocals[22] and a one-word refrain[23] discussing the impulses behind Hozier's vocation.[16] "As It Was" is a slow[15] dark[15] intimate[15] folk song[15] describing a vulnerable[18] and emotional[18] introspection of a relationship.[18]

"Sunlight" compares love to the mythology of Icarusand the legend of his journey toward the sun.

"Shrike" is a fluttering[18] folk[15][24]torch song[24] with guitar lilts[24][23] and bellowed vocals[23] where he laments his inability to voice his lost love, with sharp lyricism, an ode to the Shrike bird.[18] "Talk" features proud guitar[15] and a silky smooth baritone[15] with sensual, mythic imagery[16] expressing love with a dark wit and playful spirit.[16] "Be" is marked by a steady clap[15] heavy organs[22] and distorted guitars[15] invoking Biblical imagery intertwining with global crises[24] while citing humanity's flawed past.[15] "Dinner & Diatribes" is a catchy,[15] playful[27] toe-tapping,[15] country-influenced[15] song which about the trappings of convention at an engagement[27] with the desire to return home with his lover.[27] "Would That I" is a soft-paced[15] electrifying[15] track with wispy acoustics[15] and folk arpeggios[24] that describes Hozier's eventual build into the fiery side of love with another.[15] "Sunlight" consists of noir church chorales[24] funk organ-playing[19] where the artist rejoices in the gospel of loving,[15] sparking comparisons to the myth of Icarus.[28] "Wasteland, Baby!" concludes the album with love ballad[15] containing subtle acoustics[15] emotional emphasis[15] and soft utterances,[15] depicting a tender romance against the backdrop of the apocalypse.[15][8]

Release and promotion[edit]

Hozier announced the track listing in a video posted to Twitter, showing himself writing it down and then displaying it.[2] The album pre-order became available with the track "Almost (Sweet Music)".[29]Wasteland, Baby! was released on 1 March 2019, debuting atop the US Billboard 200 chart.[30] The album cover was painted by Hozier's mother from posed pictures of the artist in a staged, underwater set.[31][32]

Singles[edit]

"Nina Cried Power" was released as the lead single off the album on 6 September 2018. "Movement" was released as the second single off the album on 14 November 2018. A music video for the song was also released on the same day.[33] "Almost (Sweet Music)" was released as the third single off the album, along with the album pre-order, on 16 January 2019. A music video for the song was released on 16 April 2019.[34] "Dinner & Diatribes" was released as the fourth single off the album on 15 February 2019. A music video for the song was released on 6 March 2019.[35]

Critical reception[edit]

Wasteland, Baby! received generally positive reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 63, based on 10 reviews.[36]

Positive reviews include AllMusic's Stephen Thomas Erlewine, who called the album "a subtle but notable shift that lends emotional gravity to a singer/songwriter who already favored weighty topics."[26] Michael Pementel of Consequence of Sound stated "from the blend of instrumentals to the enchanting use of Hozier's voice, Wasteland, Baby! is an album that celebrates emotion and the wonder of music."[39] Neil McCormick of The Daily Telegraph gave the album a perfect score, claiming Hozier to be "a talent to rival Jeff Buckley."[38] Tony Clayton-Lea of The Irish Times said "despite a hiccup or two, without which would have made for a five-star record – it's a very welcome one."[41] Elisabeth Woronzoff of PopMatters stated that Hozier needed the album "to recapture the energy created by his previous releases then further light the artist's skill and vision of his craft." And that it "certainly delivers while edifying the artist as an impactful voice in the art and activism sphere."[42]

Mixed reviews include The Arts Desk's Russ Coffey, who said that the album's "finer moments – and there are many – come where he balances his natural despondency with some positivity."[37] Damien Morris of The Guardian stated "it’s a lovely sound, but the songwriting veers more towards the serviceable than the inspired."[40] Jonathan Bernstein of Rolling Stone claimed the album "has enough encouraging displays of maturation to feel like a transitional moment for Hozier. At its best, the album carves out a space for the singer to work out his creative tensions as he finds new ways to make his straight folk influences more accessible without losing anything along the way."[22]

Negative reviews include The Independent's Mark Beaumont, claiming "Hozier has some pertinent points to make on an album that improves dramatically in the second half."[24] Sam Sodomsky of Pitchfork said "the man who took us to church tries to take us to the same church, again, 14 times, six years later."[23]

Commercial performance[edit]

Wasteland, Baby! debuted at number one on the Irish Albums Chart and the US Billboard 200, earning 89,000 album-equivalent units in the latter country (including 75,000 pure album sales). It is Hozier's first US number-one album.[43]

Track listing[edit]

All tracks written by Andrew Hozier-Byrne, except "As It Was", which was co-written by Alex Ryan.

Charts[edit]

Weekly charts[edit]

Year-end charts[edit]

Certifications[edit]

References[edit]

  1. ^ abKelly, Aoife (17 January 2019). "Hozier announces release date and tracklist for new album 'Wasteland Baby!'". Irish Independent. Retrieved 17 January 2019.
  2. ^ abSkinner, Tom (16 January 2019). "Hozier has announced 'Wasteland, Baby' – his first album in more than four years". NME. Retrieved 17 January 2019.
  3. ^Reed, Ryan (9 January 2019). "Hear Hozier Turn Destiny's Child's 'Say My Name' Into Soulful Slow Jam". Rolling Stone. Retrieved 17 January 2019.
  4. ^"Gold & Platinum". RIAA. Retrieved 20 May 2021.
  5. ^ abc"Interview: Hozier Talks 'Wasteland, Baby!' & New Collaborators". Idolator. Retrieved 6 January 2021.
  6. ^"Hozier talks new album 'Wasteland, Baby!' and the legacy of 'Take Me To Church'". NME. Retrieved 6 January 2021.
  7. ^ abc"For Hozier, the joy in 'Wasteland! Baby' comes from the journey". Spokesman. Retrieved 6 January 2021.
  8. ^ abc"How Hozier Learned to Flirt with the End of the World on Wasteland, Baby!". Time.com. Retrieved 6 January 2021.
  9. ^"Hozier on love, politics, and trying to follow the worldwide success of 'Take Me to Church'". EW. Retrieved 6 January 2021.
  10. ^ abcd"INTERVIEW: Hozier, already working on next album, looks for hope in a wasteland". Riff Magazine. Retrieved 6 January 2021.
  11. ^"Hozier's Wasteland, Baby! Album Release Party". YouTube. 1 March 2019. Retrieved 1 March 2019.
  12. ^"Wasteland, Baby!". Pitchfork. Retrieved 6 January 2021.
  13. ^Reed, Ryan (25 October 2018). "See Hozier, Mavis Staples Play Soulful 'Nina Cried Power' on 'Fallon'". Rollingstone.com. Retrieved 20 May 2021.
  14. ^"As It Was". Genius. Retrieved 6 January 2021.
  15. ^ abcdefghijklmnopqrstuvwxyzaaabacad"HOZIER – WASTELAND, BABY! (ALBUM REVIEW)". Cryptic Rock. Retrieved 6 January 2021.
  16. ^ abcdefg"Hozier, Wasteland, Baby!, review: a talent to rival Jeff Buckley". The Telegraph. Retrieved 6 January 2021.
  17. ^ abc"Hozier: Wasteland, Baby! review – catchy second album". The Guardian. Retrieved 6 January 2021.
  18. ^ abcdefghij"Hozier Picks Up Where He Left off on Wasteland, Baby!". COS. Retrieved 6 January 2021.
  19. ^ abcdefghijklmn"'Wasteland, Baby' Highlights Hozier As an Impactful Voice in the Art and Activism Sphere". Pop Matters. Retrieved 6 January 2021.
  20. ^"Album reviews: 'Hozier – Wasteland, Baby!' and Tom Walker – 'What a Time To Be Alive'". Independent. Retrieved 6 January 2021.
  21. ^"A NEW ALBUM FROM THE HOPELESSLY ROMANTIC HOZIER". Neon Music. Retrieved 6 January 2021.
  22. ^ abcdeBernstein, Jonathan (1 March 2019). "Review: Hozier Deepens His Folk-Soul Sound on 'Wasteland, Baby!'". Rolling Stone. Retrieved 1 March 2019.
  23. ^ abcdefghijSodomsky, Sam (5 March 2019). "Hozier – Wasteland, Baby!". Pitchfork. Retrieved 5 March 2019.
  24. ^ abcdefghijBeaumont, Mark (28 February 2019). "Album reviews: 'Hozier – Wasteland, Baby!' and Tom Walker – 'What a Time to Be Alive'". The Independent. Retrieved 28 February 2019.
  25. ^Mack, Katie (2019-03-01). "Especially this track "No Plan"… trust me on this". Retrieved 2019-03-04 – via Twitter.
  26. ^ abcdErlewine, Stephen Thomas. "Wasteland, Baby! – Hozier". AllMusic. Retrieved 1 March 2019.
  27. ^ abc"Music Video Breakdown: 'Dinner & Diatribes' by Hozier". The Crimson. Retrieved 6 January 2021.
  28. ^"Odyssey". 20 Hozier Lyrics That Will Make You Wonder Why He Hasn't Won A Pulitzer (Yet). Retrieved 6 January 2021.
  29. ^White, Jack (16 January 2019). "Hozier announces new album Wasteland, Baby! scheduled for release on March 1". Official Charts Company. Retrieved 17 January 2019.
  30. ^Hughes, Hilary. "Hozier Knows the World Is Ending, So He Wrote Apocalyptic Love Songs For 'Wasteland, Baby!'". Billboard. Retrieved 10 March 2019.
  31. ^Hozier (2019-02-28), Hozier – Wasteland, Baby! – Behind The Album Cover, retrieved 2019-03-04
  32. ^"Hozier – Wasteland, Baby! – Behind The Album Cover". 28 February 2019.
  33. ^"Hozier – Movement". YouTube. 14 November 2018. Retrieved 14 November 2018.
  34. ^"Hozier – Almost (Sweet Music) (Official Video)". YouTube. 16 April 2019. Retrieved 16 April 2019.
  35. ^"Hozier – Dinner & Diatribes (Official Video)". YouTube. 6 March 2019. Retrieved 6 March 2019.
  36. ^ ab"Reviews for Wasteland, Baby! by Hozier". Metacritic. Retrieved 6 March 2019.
  37. ^ abCoffey, Russ (28 February 2019). "CD: Hozier – Wasteland, Baby!". The Arts Desk. Retrieved 28 February 2019.
  38. ^ abMcCormick, Neil (28 February 2019). "Hozier, Wasteland, Baby!, review: a talent to rival Jeff Buckley". The Daily Telegraph. Retrieved 28 February 2019.
  39. ^ abPamentel, Michael (5 March 2019). "Hozier Picks Up Where He Left off on Wasteland, Baby!". Consequence of Sound. Retrieved 5 March 2019.
  40. ^ abMorris, Damien (3 March 2019). "Hozier: Wasteland, Baby! review – catchy second album". The Guardian. Retrieved 3 March 2019.
  41. ^ abClayton-Lea, Tony (16 February 2019). "Hozier: Wasteland, Baby! – Track by track review of his new album". The Irish Times. Retrieved 16 February 2019.
  42. ^ abWoronzoff, Elisabeth (1 March 2019). "'Wasteland, Baby!' Highlights Hozier As an Impactful Voice in the Art and Activism Sphere". PopMatters. Retrieved 1 March 2019.
  43. ^Caulfield, Keith (10 March 2019). "Hozier Debuts at No. 1 on Billboard 200 Albums Chart With 'Wasteland, Baby!'". Billboard. Retrieved 11 March 2019.
  44. ^"Australiancharts.com – Hozier – Wasteland, Baby!". Hung Medien. Retrieved 9 March 2019.
  45. ^"Austriancharts.at – Hozier – Wasteland, Baby!" (in German). Hung Medien. Retrieved 14 March 2019.
  46. ^"Ultratop.be – Hozier – Wasteland, Baby!" (in Dutch). Hung Medien. Retrieved 9 March 2019.
  47. ^"Ultratop.be – Hozier – Wasteland, Baby!" (in French). Hung Medien. Retrieved 9 March 2019.
  48. ^"Hozier Chart History (Canadian Albums)". Billboard. Retrieved 12 March 2019.
  49. ^"Czech Albums – Top 100". ČNS IFPI. Note: On the chart page, select 201910 on the field besides the word "Zobrazit", and then click over the word to retrieve the correct chart data. Retrieved 12 March 2019.
  50. ^"Dutchcharts.nl – Hozier – Wasteland, Baby!" (in Dutch). Hung Medien. Retrieved 9 March 2019.
  51. ^"Lescharts.com – Hozier – Wasteland, Baby!". Hung Medien. Retrieved 12 March 2019.
  52. ^"Offiziellecharts.de – Hozier – Wasteland, Baby!" (in German). GfK Entertainment Charts. Retrieved 8 March 2019.
  53. ^"Irish-charts.com – Discography Hozier". Hung Medien. Retrieved 9 March 2019.
  54. ^"Mūzikas Patēriņa Tops/ 10. nedēļa" (in Latvian). LAIPA. Archived from the original on 10 October 2019. Retrieved 28 November 2019.
  55. ^"Savaitės klausomiausi (TOP 100)" (in Lithuanian). AGATA. 8 March 2019. Retrieved 4 December 2019.
  56. ^"Charts.nz – Hozier – Wasteland, Baby!". Hung Medien. Retrieved 8 March 2019.
  57. ^"Oficjalna lista sprzedaży :: OLiS - Official Retail Sales Chart". OLiS. Polish Society of the Phonographic Industry. Retrieved 14 March 2019.
  58. ^"Official Scottish Albums Chart Top 100". Official Charts Company. Retrieved 9 March 2019.
  59. ^"Spanishcharts.com – Hozier – Wasteland, Baby!". Hung Medien. Retrieved 13 March 2019.
  60. ^"Swedishcharts.com – Hozier – Wasteland, Baby!". Hung Medien. Retrieved 8 March 2019.
  61. ^"Swisscharts.com – Hozier – Wasteland, Baby!". Hung Medien. Retrieved 13 March 2019.
  62. ^"Official Albums Chart Top 100". Official Charts Company. Retrieved 9 March 2019.
  63. ^"Hozier Chart History (Billboard 200)". Billboard. Retrieved 18 November 2020.
  64. ^"Hozier Chart History (Top Alternative Albums)". Billboard. Retrieved 18 November 2020.
  65. ^"Hozier Chart History (Top Americana/Folk Albums)". Billboard. Retrieved 18 November 2020.
  66. ^"Hozier Chart History (Top Rock Albums)". Billboard. Retrieved 18 November 2020.
  67. ^White, Jack (9 January 2020). "Ireland's Official Top 50 biggest albums of 2019". Official Charts Company. Retrieved 11 January 2020.
  68. ^"Top Rock Albums – Year-End 2019". Billboard. Retrieved 7 April 2021.
  69. ^"Canadian album certifications – Hozier – Wasteland, Baby!". Music Canada. Retrieved 30 September 2021.
  70. ^"British album certifications – Hozier – Wasteland Baby". British Phonographic Industry. Retrieved December 12, 2020.
  71. ^"American album certifications – Hozier – Wasteland, Baby". Recording Industry Association of America. Retrieved 10 December 2020.
Sours: https://en.wikipedia.org/wiki/Wasteland,_Baby!
Hozier thinks all musicians are egomaniacs

Stardom is rare. Household-name-around-the-world superstardom is even rarer. Reduce it to the mononymous – Elvis, Madonna, Beyoncé – and you’re down to a handful of individuals. And there, quietly among them all, lies Hozier.

We’re very sensitive about our superstars here in Ireland. We exercise proud national ownership whenever the British claim one of our own (we’re looking at you, Saoirse), and show occasional flares of begrudgery if we feel they’re too big for their boots or we have a problem with how they pay their taxes (yes, Bono, that’s you).

It’s a difficult balancing act. As Hozier – he turns 29 on St Patrick’s Day – prepares for the release next week of his second album Wasteland, Baby!, he says he maintains that balance by refusing to play the fame game.

“I’ve witnessed people who are on a slippery slope, especially young men who fall into a scene or whatever or a place in the world...It’s just a playground for people whose stars have quickly risen. But it’s a really dangerous slope to be on,” he says, picking at a modest spread of tea and Tunnock’s tea cakes in the empty bar of Dublin’s Gaiety Theatre.

“I have a strong aversion to anyone in a scene-y way. In certain parts of the world where people are blowing smoke, I’ve an absolute allergy to it. I just f**king hate it. I have a strong aversion to people trying to ingratiate themselves. I don’t want to be ingratiated upon in any way, shape or form. Scenes are to be avoided, I think.”

Andrew Hozier-Byrne grew up just outside Bray in Co Wicklow with his family: blues musician dad John Byrne, artist mother Raine Hozier-Byrne (she designed the cover of his first album) and his brother Jon. When he’s at home in Ireland these days he keeps a low profile, he says, and avoids “trendy aesthetics or glib posturings”.

There’s no fuss to him, but with the kind of fame he has fuss tends to follow. If he decides to go to a gig put on by one of his friends in Dublin, he knows that his presence might take time or attention away from the important people in his life. Does this make life difficult?

“Yeah. There’s no point me in me saying that no it doesn’t. It really does, yeah. It did especially in the first few years. At some point you have to stop resisting the fact that that’s just your life now and you have to get on with it,” he says, adding that he doesn’t want to “make a show” of himself in those situations.

“I just love the feeling of anonymity. I really, really miss it. Being in a bar, being in a pub and just being part of a crowd is a really nice feeling.”

He’s not moaning though, and he knows what he signed up; he’s just simply pointing out his life is just very different now.

Star slots

In a short period of time he went from low-key gigs in small Dublin venues to star slots on international TV shows such as The Graham Norton Show, The Ellen Show and The Tonight Show with Jimmy Fallon. When your life undergoes this incredible shift, he says, you’re suddenly presented with a different version of yourself.

“You have a hit song and everybody knows your face and everybody knows your name. You don’t feel any different. You’re just confronted with this otherness of your own self,” he says, fidgeting with his hood, adjusting it up and down over his head.

American Gospel singer and civil rights activist Mavis Staples on stage with Hozier. Photograph: Dave Meehan

“Everybody kind of recognises you as something that you have no relationship whatsoever with. I suppose that’s the weird feeling. To you you’re just a dude who just wrote a song and wanted to play the music he was always going to play; whether there was people listening to it or not.”

Quickly he reiterates that he’s not complaining.

“Of all the problems you can have, it’s a very small problem to have. It’s hardly a cost to pay for the opportunities that you’re given and stuff like that. It’s totally fine.”

When Take Me To Church was released in 2013, it reached number two in Ireland and the UK, but it was when he performed the song on The Late Show with David Letterman in May 2014 that the it began to pick up steam in the US. By the end of that year it had reached number two on the Billboard Hot 100, where it sat for three weeks. But it reached number one on Billboard’s US Adult Top 40 and US Hot Rock Songs.

Its anti-religious message wasn’t so clear to some fans at first, causing it to be claimed and then disowned by Evangelical Christians, with one faith-based website writing: “Conservative Christian pop music voyeurs are not, perhaps, very practised in the art of pop music hermeneutics.”

It was nominated for Song of the Year in the 2015 Grammy Awards, losing to Sam Smith’s Stay with Me, and has been covered by Ed Sheeran, Demi Lovato, Ellie Goulding, the cast of Glee and contestants on The Voice, the X Factor and America’s Got Talent. In an ad for Beats by Dre headphones basketball player LeBron James can be seen working out to the song.

Writing songs

With that kind of success behind him, does he find it easier writing songs for an audience of strangers rather than a small venue in Ireland with a crowd made up of friends and family?

“I write for myself. I write for things that I enjoy or things that I believe in, or things to reconcile sh*t. I don’t write for a room. I don’t write for a crowd either. You just write for yourself, and you’re fortunate if people like it.

“For me I want to write stuff that I wish other people wrote. That’s as simple as it is. If you want to write something that’s hopeful, you write something that’s hopeful,” he says, pointing to his own song Nina Cried Power as a hopeful antidote to the xenophobia and “worshipping of greed and cruelty” that clogs the 24-hour news cycle.

But he has seen how some artists change how they write when they start playing to large crowds.

“Bands and acts do get to that stage where they start writing songs for stadium stuff. Yeah, it happens. Maybe it’s – I don’t know – because they see that it pays off? Maybe they just want to write happy music and make people dance. I get that too. Avoid the difficult stuff. I don’t know. I’m not quite there yet.”

Part of Hozier’s appeal is that he is a nice guy who has done well for himself. Not for him the persona of the rock star wearing sunglasses indoors. Instead he blends in with the crowd – as much as someone who towers at 6ft 5in can – with his hood up and his head down. He walked from the Dublin hotel he is staying in to the interview with the look of a student who is sitting final-year exams, wearing jeans and a tracksuit hoodie, with his distinctive long hair tied back and his prescription glasses on.

Modern Irish man

A few years ago Irish comedian and Hozier fan Alison Spittle wrote a piece for the Irish website Headstuff about street harassment and the body shaming that women experience. The piece is entitled Why Can’t All Lads Be Sound Like Hozier? Why did she single him out as an example of a sound modern Irish man?

“I chose Hozier as my vessel for male Irish soundness because he embodies all the aspects of Irish masculinity that is good,” she tells The Irish Times. “He’s not brash but stands firmly up for what he believes. He uses his platform with the best of intentions. Years ago, when he sang on Saturday Night Live, I cheered for him like a football team.”

Spittle isn’t alone in cheering on Hozier – he has won legions of fans for using his celebrity to support social causes. He was a vocal supporter for a Yes vote in 2015’s marriage equality referendum. During the 2018 referendum to repeal the Eighth Amendment he released a video asking people to vote Yes so that “our fellow citizens access to healthcare and reproductive rights”.

He has taken part in concerts and fundraisers in the fight against homelessness, and when Pope Francis visited Ireland in August 2018, he sang at the Stand for Truth protest rally that invited anyone who “been harmed or abused by the Roman Catholic Church or who wishes to stand in solidarity with those harmed by its actions” to join.

He refers to these actions as “signal boosting”. As a touring artist who is rarely home, he says he couldn’t go knocking door-to-door as so many others of his generation did.

“I am super-proud of our generation. I think in a lot of ways I am not a good example of our generation’s collective experience because I got out of the trap – I won’t say the trap – I got out of the conditions that our generation has been left with and the conditions that have been foisted upon our generation, with regards an older generation that has completely... mismanaged in so, so many ways.”

He says “I won’t even get into it”, dismissing the bigger conversation of Ireland in the boom years and steering it back to what it means to be young and Irish today.

Moral leadership

“I can’t wait until more of our generation gets into politics and starts running for office because the moral leadership shown [in both referendum campaigns] should be followed through. I think it would do a lot of good in the Dáil. We’re all citizens of the Ireland we want to see come to fruition.”

More recently he tweeted his support for the striking nurses. and he says that Nina Cried Power, the lead single from his new album that features the American Gospel singer and civil rights activist Mavis Staples, is a “thank you note” to the spirit of protest.

The video, which was co-directed by his brother Jon and Patrick Ryan, shows a number of activists, celebrities and influencers that are well-known in Ireland, including Christina Noble, Panti Bliss, Amnesty International’s Colm O’Gorman, actor Stephen Rea and direct provision activist (and Social Democrat candidate) Ellie Kisyombe, listening to the song through headphones as videos of protest play in the background.

The song plays “on the language of wokeness” but in an era where big brands such as Gilette, Nike and Pepsi use social movements for commercial reasons, did he fear being considered disingenuous?

“In a time where fatigue is setting in with regards the civil discourse and action that is taking place at the time, you’re finding an upswing of people just vilifying protest, et cetera, and rolling their eyes at protest. And the song was in the context of that, trying to write something that was a thank you note to protest, and a reminder of what protest achieves,” he says, punctuating each sentence by hitting the table with his index finger.

“Where if I wanted to make a vehicle for my own f**king success...If I wanted to take the f**king embattled spirit of the f**king times and make a vehicle for my own f**king popular success, I wouldn’t write a song like that. And I wouldn’t write a song and bring Mavis Staples into it. I would do what marketers would have wanted me to do, which is to take a younger hip, pop artist.”

Hozier performing as model Candice Swanepoel walks the runway during the 2014 Victoria’s Secret fashion show in London. Photograph: Getty Images

Far easier

Citing the video and the song as a platform for the people who are changing Ireland, he’s aware of the damned if you do, damned if you don’t approach to making work that’s political.

“Yeah, is it a concern that someone will regard the work or regard my contribution as disingenuous or cynical, I’m sure people will. That’s the f**king risk of making work. And that’s the risk of making honest work. I can’t control that but I assure you if I wanted to make a f**king pop song, I would have written a pop song because it would have been far easier.

“Or if I just wanted f**king monetary success or gain, we just wouldn’t be having this conversation. I’d just be writing music that is completely apolitical. I don’t believe that non-political artwork exists, but I would be a very different artist. I would not be dealing with the headache of the worry of people pointing the finger and saying that this guy is a f**king disingenuous hack.”

In the six years since Hozier found stardom he has rarely been at the wrong end of public criticism but one giant misstep was his decision to perform at 2014’s Victoria’s Secret fashion show. The lingerie label is frequently associated with misogyny and the promotion of unattainable body shapes, and as he sang Take Me To Church, models strutted by in their underwear, wearing the label’s angel wings. The backlash was swift and pointed. How does he feel now about that experience?

“I think it’s fair to say the whole thing was a bit outside my wheelhouse. However, I did get to meet good people from a very different industry, and gain an appreciation for just how hard they work and how dedicated they are to their field.”

He says he holds the lifestyle that’s associated with glitzy TV appearances and fashion shows at a distance, marking them as a work thing and nothing else. “That’s a few hours out of your day where you pop into a TV studio and you play the song. You shake a few hands and say hello and thank you and then you leave. It’s not indicative of any lifestyle. It’s promotion, you know?”

Human rights

His manager at MCD, Caroline Downey, considers him to be a role model, “a very proud feminist and strong supporter of human rights issues”.

Downey runs the Gaiety Theatre, and directs the concert promotion company MCD that her husband Denis Desmond owns. She has been with Hozier since the very beginning; before the beginning actually. She first heard of him when he was a student in St Gerard’s school, a private secondary school in Bray, Co Wicklow, that her daughter Storm also attended.

Her daughter told her about this talented singer with the memorable surname from school, and when Downey saw him perform at a transition-year concert she says the hair on the back of her neck stood up.

After he finished school and spent what he calls a “hot minute” studying in Trinity College, Downey, Desmond and Rubyworks Records (the Irish independent record label created by Niall Muckian) successfully brought Hozier’s music to the mainstream.

“It’s been an amazing journey watching this very shy, polite, intelligent, talented young man turn into a confident, singer-songwriter with a great stage presence and still retaining the same values,” Downey says.

Aoife Woodlock, music producer for the RTÉ TV series Other Voices, regularly books artists who are on the cusp of hitting the big time. Hozier has performed on Other Voices twice. His first performance was recorded in December 2013, three months after the release of Take Me To Church, and it aired in early 2014. His second appearance was on his own Other Voices special that aired in March 2015, such was the demand for “Ireland’s new voice”, says Woodlock.

She recalls his 2014 performance at the influential South by Southwest (SXSW) industry festival in Austin, Texas, a festival that is considered as a showcase for artists who want to expand their reach. Sitting next to his father John, who she says is a “proud and influential parent”, in Austin, there was a sense of something much bigger at work.

“Andrew had clearly got a ‘team’ around him by then. I could see the heavy hitting industry reps lining the front rows in anticipation of seeing their artists perform, and perform he did.”

Every bar in Austin was playing Hozier, Woodlock says. Even when she was travelling through the airport, she heard his music.

American market

The American music market is a tough one for any musician to crack, no matter how popular they are in the charts elsewhere: just ask Oasis or Robbie Williams, who have both failed on numerous occasions to make it Stateside. Woodlock says that in her 20 years of attending SXSW she had never seen this kind of support for an Irish artist, and he cracked the American market “wide open”.

“When an Irish artist ‘makes it’ in America, the industry looks to Ireland. They look to the place that that artist came from. This is why it’s imperative to support musicians. By supporting the up and coming you are investing in the next generation of AHBs [referring to Hozier by his initials].”

With a schedule that’s mostly made up of gigging, touring and promotion across different time zones, does he measure time differently now?

“Yeah. I just give up on the calendar. I really do. You just give up. Certainly when you’re on tour mode there’s just no point, you know?”

Socially he can’t look too far ahead so if someone wants to make plans with him they’re better off asking him the day before. He treats work as one gig at a time because if he looks at the bigger picture it can be too much.

He says he doesn’t listen to a lot of other music.

“I listen to very little new music to the point where I wish I could say I could listen to more. I just only finished mixing and mastering the record so... my head is melted with the minutiae of these mixes.”

It’s a quiet Monday in town but he’s busy. After our interview he is signing posters for fan giveaways – he aims to sign at least 300 a day – and then he has band rehearsals in The Academy on Abbey Street, just ahead of his American, Australian and New Zealand tour, which will keep him tied up until the start of June.

When he returns he begins the summer circuit of gigs and festivals in Ireland, the UK and across Europe. Unintentionally, he makes free time sound like a complete luxury that he can rarely afford. With his lyrics rich in literary references, I wonder is he a big reader?

“Never as much as I’d like, with regards reading. Time is very short.”

Time-pressed

Podcasts are a good option for the time-pressed. “I don’t really listen to podcasts. I just don’t have time. I never have time.”

Instead he listens to lectures in the background as he goes about his day, with one lecture by astrophysicist Katie Mack on the end of the universe inspiring a song on the album. No Plan is what could be described as an apocalyptic love song. In the lectures Mack goes through the five most likely ways that the universe might end.

“One of the most likely being heat death, where basically all energy will leave the stars,” he explains. “They will burn themselves out and the universe will go dark, essentially. Whatever about the end of the world, No Plan is just saying that that’s the least of your worries. The universe is set to end at some point. It’s even more hopeless than you think.”

The themes of mortality, romance, ticking time bombs and self-destruction also crop up on his new album’s title track. And despite lyrics like “we’re two minutes to midnight on the doomsday clock and 60 per cent of all animal life has been wiped out since the 60s”, it’s actually a twisted carpe diem declaration of love.

“It’s just a nice reminder of just how small or insignificant all of it is,” he says.

Time and how he spends it is evidently a main concern. A few years ago he toyed with the idea of moving abroad but he made the decision to keep his home in Ireland so that he could be closer to his family when he’s not touring.

“The job affords you a lot of fantastic opportunities but you do have to be away. In that irony you have to be away from all of the things that you are working for and that you are working towards.”

And with such limited time and a back catalogue of intense love songs, you’d wonder how his romantic life is going. There’s been the odd rumour, but never anything confirmed or outright denied.

“I’d rather not go into that side of things, if you don’t mind.”

Sorry. I tried.

Sacrifices

The trouble with being a superstar is that certain sacrifices have to be made, sacrifices like personal time, anonymity and double-down of public praise and public criticism.

The calendar year may have fallen by the wayside for him, and he may be behind on his podcasts, but with his music, and the messages of love, hope and despair that it sends, he’s certain of one thing: his songs might outlive us all.

“That’s another thing that I just love about making music. It lasts forever, and in times like this, when it’s fun to write, it’s nice to leave behind something. If nothing else, it’s credited. It last forever. Yeah, it’s cool.”

Sours: https://www.irishtimes.com/culture/music/hozier-if-i-wanted-to-make-a-f-king-pop-song-i-would-1.3794161

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